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''Pungmul'' (Hangul: 풍물; Hanja: 風物 IPA: (:pʰuːŋmul) ) is a Korean folk music tradition that includes drumming, dancing, and singing. Most performances are outside, with dozens of players, all in constant motion. ''Pungmul'' is rooted in the ''dure'' (collective labor) farming culture. It was originally played as part of farm work, on rural holidays, at other village community-building events, and to accompany shamanistic rituals, mask dance dramas, and other types of performance. During the late 1960s and 1970s it expanded in meaning and was actively used in political protest during the pro-democracy movement, although today it is most often seen as a performing art. Older scholars often describe this tradition as ''nongak'' ((:noŋak) ), a term meaning "farmers' music" whose usage arose during the colonial era (1910–45). The Cultural Heritage Administration of South Korea uses this term in designating the folk tradition as an Important Intangible Cultural Property. Opposition from performers and scholars toward its usage grew in the 1980s because colonial authorities attempted to limit the activity to farmers in order to suppress its use and meaning among the colonized. It is also known by many synonymous names throughout the peninsula. Drumming is the central element of pungmul. Each group is led by a ''kkwaenggwari'' (RR- ggwaenggwari) (small handheld gong) player, and includes at least one person playing ''janggu'' (hourglass drum), ''buk'' (barrel drum), and ''jing'' (gong). Wind instruments (taepyeongso, also known as ''hojeok'', ''senap'', or ''nalari'', and ''nabal'') sometimes play along with the drummers. Following the drummers are dancers, who often play the ''sogo'' (a small drum without enough resonance to contribute to the soundscape significantly) and tend to have more elaborate—even acrobatic—choreography, particularly if the sogo-wielding dancers also manipulate the ''sangmo'' ribbon-hats. In some regional pungmul types, ''japsaek'' (actors) dressed as caricatures of traditional village roles wander around to engage spectators, blurring the boundary between performers and audience. ''Minyo'' (folksongs) and chants are sometimes included in ''pungmul'', and audience members enthusiastically sing and dance along. Most ''minyo'' are set to drum beats in one of a few jangdan (rhythmic patterns) that are common to pungmul, sanjo, p'ansori (RR-pansori), and other traditional Korean musical genres. Pungmul performers wear a variety of colorful costumes. A flowery version of the Buddhist ''kkokkal'' is the most common head-dress. In an advanced troupe all performers may wear ''sangmo'', which are hats with long ribbon attached to them that players can spin and flip in intricate patterns powered by knee bends. == Classification == ''Pungmul'' () was first recognized as an Important Intangible Cultural Property in 1966 under the title ''nongak sipicha'' (, "twelve movements of farmers' music"). The designation was changed to simply ''nongak'' in the 1980s in order to accommodate regional variations. The Cultural Heritage Administration currently recognizes five regional styles of the tradition, each named for its center of activity, under Important Intangible Cultural Property no. 11: Jinju Samcheonpo ''nongak'', from South Gyeongsang province (designated in 1966); Pyeongtaek ''nongak'', from Gyeonggi province (1985); Iri ''nongak'', from North Jeolla province (1985); Gangneung ''nongak'', from Gangwon province (1985); and Imsil Pilbong ''nongak'' from North Jeolla province (1988). Each style is unique in its approach toward rhythms, costuming, instrumentation, and performance philosophy: Jinju Samcheonpo for ''yeongnam'' (), Pyeongtaek for ''utdari'' (), Iri for ''honam udo'' (), Gangneung for ''yeongdong'' (), and Imsil Pilbong for ''honam jwado'' (). Most scholarly works on ''pungmul'' focus on the two distinct styles present in the Honam region encompassing the two Jeolla provinces. In this region, the designations ''jwado'' (left) for Imsil Pilbong and ''udo'' (right) for Iri are determined according to geomantic principles. Looking southward from the "center" (Seoul, the capital), ''udo'' indicates "left", and ''jwado'' indicates "right".〔 Comparative studies between the two styles brought about the development of stereotypes among professional groups. ''Honam jwado'' became known for its varying formations and rapid rhythmic patterns, while ''honam udo'' was generally seen as having slow but graceful rhythmic patterns. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Pungmul」の詳細全文を読む スポンサード リンク
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